O predstavofilmu KINESKI RULET

CRTEŽI / DRAWINGS

U radu na predstavi sudjeluju
Autor produkcije: Nataša Rajković
Autor koncepta: Damir Bartol Indoš
Protagonisti: Ana Karić, Tvrtko Jurić, Nataša Dangubić, Vili Matula, Tanja Vrvilo,
Damir Bartol Indoš
Glazbenici: Damir Prica Kafka, Andreja Košavić, Igor Pavlica
Dramaturgija: Una Bauer
Kostimografija: Ana Savić Gecan
Video i Filmske animacije: Nicole Hewitt
Crtež, Tekst, Glas: Vladimir Gudac
Arhitektonski nacrt scene: Sanja Pamuković
Za kazališnu izvedbu adaptirali: Damir Bartol - INDOŠ, Tanja Vrvilo, Vilim Matula

Produkcija: Kultura promjene SC-a-Zagreb-Savska 25
GRADSKI URED ZA KULTURU GRAD ZAGREB

Premijera i reprize:
06. 05, 7, 10, 11, 12, 13, 14, 15.05.2005 - Velika scena Teatra &TD

Igra istine "Kineski rulet" proizašla iz istoimenog filma, predložak je istoimenoj predstavi. Opasna igra kao kolektivna halucinacija otetih i otmičara, turista i terorista, službenika i službenica na zadatku putovanja, obrazovanja, predstavljanja, igra je čije je vrijeme trajanja ograničeno vremenom iščekivanja konačne odluke vlade. Sudionici zatočeničke krize prekraćuju vrijeme pikulanjem, igranjem filmova, učeći strane riječi, predstavljajući igrokaze, kradući vrijeme života jedan od drugoga, prije nego što nastupe pripadnici specijalnih jedinica za hitne intervencije, ekipe istražitelja, forenzičara, mrtvozornika, i na kraju predstavnika medija. Igra završava pokušajem bijega, željom da se bude slobodan od situacije u kojoj nitko nije nevin, svi su krivi, jer da nisu, zašto bi se zatekli u situaciji ekstremne krivnje /i otmičari i oslobodioci ne prihvaćaju nevinost kao moguću kategoriju vrijednosti/.

Opasna igra počiva na međusobnoj isprepletenosti dokumentarno-igranog filmskog materijala, osobne priče pojedinca i zadanog zadatka unutar pravila igre organiziranih kao raznobojnih područja zona slobodnog kretanja pojedinaca i grupa, zahtjeva i uvjetuje život političkim aktivizmom.
DB Indoš

POZIV NA LUDILO / "KINESKI RULET" DAMIRA BARTOLA INDOŠA U ZAGREBAČKOM TEATRU &TD

Bezobrazna anarhistička rugalica. Tako otprilike glasi prosječna ocjena većeg dijela publike ovih dana nakon predstave "Kineski rulet" Damira Bartola Indoša i njegovih sljedbenika u kazalištu &TD. U zajapurenim diskusijama pristaša i protivnika, spominjalo se da je "Kineski rulet" fascinantna prečica do metafizike, kazališna katastrofa u kojoj glumci ne znaju što rade ili pročišćena poetika Carla Jaspersa, ali tako je to uvijek kada se radi o Indoševim autorskim radovima. Nemojte se stoga pitati o čemu se u "Kineskom ruletu" radi jer na to se pitanje u slušaju Damira Bartola Indoša već trideset godina ne može od prve odgovoriti.
Novi pothvat neka je vrsta totalnog performansa u kome se glazba, scenski predmeti i glumci, u kakofoničnim slapovima pokreta, zvukova i riječi stapaju u nadrealni svijet jednog visoko estetiziranog intelektualnog koncepta. "Kineski rulet", kazalište je golog prizora – na pozornici koja djeluje kao skladište odbačene elektronske opreme, rasklimana avionska kabina ili glazbeni studio šašavih muzičara – gdje publika, prateći uz ozbiljne napore izaumno zbivanje na sceni, može vidjeti ono što želi.
Smisao pojedinih Indoševih predstava, pa tako i "Kineskog ruleta", naslućuje se kroz raspolaženje gledaočeva cijelog tijela; kako primate zvukove električne pile, scenske pokrete nalik teško retardiranim osobama, prašinu i znoj izvođača i gomilu scenskog materijala koji sliče prizoru poslije nuklearnog napada. Tek kasnije, nekom vrstom iluminacije u hladnom znoju, kao nakon košmarnog sna, shvatite da se zapravo radi o nesretnoj djevojčici, ratu ili nehumanosti tehničke civilizacije. U "Kineskom ruletu" sve te zvučno-vizualne provokacije djeluju ponešto umiveno; Indoš i njegovi krenuli su od Fassbinderove teme odnosa terora i demokracije, ali su taj kakav takav suvisli problem bez ustručavanja zavitlali u susret tisućama znakova, simbola i scenskoj igri koja proistječe isključivo iz neke vrste spontaniteta, toka svijesti samih izvođača i rasporeda zvijezda na nebu baš te večeri.
Publici ne preostaje ništa drugo nego da zaboravi sve što je o kazalištu do tada znala i prepusti se rijeci dojmova na tom nemogućem mjestu. Taj šarm nepredvidljivosti u kome glumci Ana Karić, Vilim Matula, Nataša Dangubić, Tvrtko Jurić, Tanja Vrvilo i Damir Bartol Indoš potpuno pribrano čine neke nepovezane radnje dok u pozadini živi orkestar s pravom pjevačicom svira neku naročito elegičnu melodiju, otprilike kao u Rickovu baru iz filma Casablanca, čini ovu predstavu – uz pretpostavku da na nju publika uopće pristane – na čudan način uzbudljivom. U toj točki "Kineski rulet" stoji ili pada: odluči li publika napustiti logičko objašnjavanje onoga što čuje i vidi i počne zaključivati autentičnošću doživljaja, onda bezobrazna anarhistička rugalica ima šanse biti "postdramsko kazalište promjene" kako ga je nazvala &TD-ova producentica Nataša Rajković.
Ako projekt Damira Bartola Indoša i suradnika promatramo u kontekstu hrvatskog pretežno vodnjikavog kazališta umanjenih strasti, onda je "Kineski rulet" - koji sigurno neće privući publiku u pretplati, ali hoće onu mladu željnu ludila, uzbuđenja i provokacije – predstava autentične energije i hrabrog tragalaštva.
Bojan Munjin

Talačka kriza na kazalištim daskama
POSTOJI LI RAZLIKA IZMEĐU OTMIČARA I OTETIH?

Nakon tri desetljeća rada na margini umjetničke produkcije D. B. Indoš odlučio se odreći sigurne pozicije perifernog djelovanja i ući u rizik institucionalne proizvodnje. Svoju radikalnu, ekstremnu, autističnu, izrazito individualnu poetiku tako je ponovno pretočio u angažman s profesionalnim glumcima okupljenima u kazališni ansambl u predstavi Kineski rulet na daskama &TD-a.
Dramaturški se predstava gradi oko situacije nemoći talaca u otetom avionu, polazeći od povijesnog događaja otmice putničkog aviona u Mogadishu i ubojstva pilota od strane pripadnika RAF-a te Fassbinderova igranog filma "Chinesisches Roulette" i dokumentarnog omnibusa "Deutschland im Herbst". Osnovna scenska slika je igra talaca u otetom avionu. Situacija u kojoj su posve nemoćni, u kojoj se nema što izgubiti, otetiti putnici prepuštaju se igri istine.

Hommage Fassbinderu
Igra istine središnji je moment i istoimenog Fassbinderova filma. No dok u Fassbinderovu filmu igra završava tragično, u Indoševoj predstavi ona kulminira kolektivnom halucinacijom, ekstatičnom svirkom koja konačno oslobađa.
U cijelosti hommage Fassbinderu, žestokom i beskompromisnom kritičaru društvenog poretka kao izvora svih zala, tematizirajući RAF-ovu terorističku akciju predstava progovara o superiornosti društveno organiziranog djelovanja nad onime koje je privatno ustanovljeno. Kritizirajući državni aparat Indoš se zalaže za promišljanje fenomena terorizma: "Radi se o organizacijama – jedna je nasljedna i legitimna, a druga je samoorganizirana – sama nastaje i sama se dokida. Prva ima za pravilo da žrtvuje druge za sebe, druga u pravilu žrtvuje sebe za druge ili krši pravilo žrtvujući sebe zajedno s drugima. U stvari, na djelu je sukob agresivnog duha i sebičnog kapitala."

Nepostojeća nevinost
Situacija u kojoj se briše granica između otmičara i otetih otvara pitanja o odgovornosti pojedinca unutar šire društvene strukture negirajući nevinost kao moguću kategoriju vrijednost. U tom smislu ne postoji izbor između političkog djelovanja i pasivnosti. Ključni je prizor reciklaža Fassbinderove sekvence iz filma "Deutschland im Herbst", razgovor s majkom koji prožima sjećanje na nacističku prošlost, šutnja, strah od javnog izlaganja i duboko nepovjerenje u demokratski politički poredak, no istovremeno i autorova nemoć da se odupre temeljnom hegemonističkom svjetonazoru. Stavljajući socijalni angažman u prvi plan, Indoš podcrtava svoj iskorak u polje institucionalnog, uz rizik neshvaćanja i izdaje. Nazivajući to "probojem u centralno", on širi područje borbe u društveno priznatije kazalište kao bolje strukturno mjesto za vlastiti socijalni i politički angažman.
Vesna Vuković

 

CHINESE ROULETTE
On the play-film Chinese Roulette

Crew list
Production author: Nataša Rajković
Concept author: Damir Bartol Indoš
Protagonists: Ana Karić, Tvrtko Jurić, Nataša Dangubić, Vili Matula, Tanja Vrvilo, Damir Bartol Indoš
Musicians: Damir Prica Kafka, Andreja Košavić, Igor Pavlica
Dramaturgy: Una Bauer
Costimography: Ana Savić Gecan
Video and Film animations: Nicole Hewitt
Sketches,Text,Voice: Vladimir Gudac
Architectual scene design: Sanja Pamuković
Adapted for the stage: Damir Bartol - INDOŠ, Tanja Vrvilo, Vilim Matula

Production: “Culture of Change” Student Center-Zagreb-Savska 25
OFFICE FOR CULTURE OF THE CITY OF ZAGREB

Premiere and re-runs:
06.05, 7, 10, 11, 12, 13, 14, 15.05.2005 – &TD Theatre

Truth-game “Chinese Roulette”, based on the homonymous movie, is the model for the homonymous play. Dangerous game as a collective hallucination of the hostages and the hijackers, tourists and terrorists, male and female clerks on the mission of voyage, education, presentation; it is a game which duration is limited by the time it takes for the final decision of the government to arrive. The participants of this hostage crisis spend their time playing with marbles, enacting scenes from movies, learning foreign words, presenting plays, stealing life-time from each others, before the arrival of members of the special operations forces units, teams of investigators, forensics experts, coroners, and, finally, members of the media. The game ends with an attempted escape, with a wish to be free from the situation in which nobody is innocent, in which everyone is guilty, because, if they weren’t, how could they possibly find themselves in a situation of extreme guilt /neither the hijackers nor the saviors accept innocence as a possible category of value/.

The dangerous game relies on the mutual entanglement of the docu-fictional filmic material, personal story of the individual and the given task, within the boundaries of the rules of the game organized as polychromatic areas of the zones of free movement of individuals and groups; it demands and stipulates life by political activism.
DB Indoš

CALL TO MADNESS / “CHINESE ROULETTE” BY DAMIR BARTOL INDOŠ AT &TD THEATRE IN ZAGREB

An insolent anarchistic satire. That is roughly the average opinion of the majority of audience after seeing the play “Chinese Roulette” by Damir Bartol Indoš and his followers at the &TD Theatre. During the vehement discussions of the supporters and opponents, it has been observed that “Chinese Roulette” is a fascinating shortcut to metaphysics, theatrical catastrophe in which actors do not know what they are doing, and a cleansed poetics of Carl Jaspers; however, that is always the case with Indoš’s artistic works. So, do not ask me what is “Chinese Roulette” about, because that is the question that, in the case of Damir Bartol Indoš, has not been readily answerable for the last 30 years.
This new endeavor is a kind of total performance in which music, stage objects and actors, in cacophonic cascades of movements, sounds and words, merge in a surreal world of a single highly aestheticized intellectual concept. “Chinese Roulette” is theatre of stark spectacle – on the stage that looks like storage of abandoned electronic equipment, a shaky cockpit or a crazy artists’ music studio – where the audience, laboriously following transmind events on the stage, can see what it wants to see.
The meaning of Indoš’s plays, “Chinese Roulette” included, can be sensed through the behavior of viewer’s whole body; the way you receive the sounds of motor-saw, movements similar to the movements of heavily retarded persons, dust and sweat of the participants and piles of stage material that look like a nuclear impact aftermath. Only later, by a kind of cold sweat illumination, like after a nightmare, you realize that it is all about an unfortunate girl, war or the inhumanity of the technological civilization. In “Chinese Roulette” all these audio-visual provocations appear somewhat cleansed; Indoš and his crew start off from Fassbinder’s theme about the relationship between terror and democracy, but then, without hesitation, they transform this, at least partially, coherent problem into thousands of signs, symbols and a performance that ensues exclusively from a kind of spontaneity, stream of consciousness of performers themselves and the pattern of stars on the sky that very night.
The audience can only forget everything they know about the theatre up to that point and surrender themselves to a stream of impressions at that impossible place. That charm of unpredictability in which the actors – Ana Karić, Vilim Matula, Nataša Dangubić, Tvrtko Jurić, Tanja Vrvilo and Damir Bartol Indoš – with complete presence of mind take part in some unconnected activities, while in the background a live band with a singer plays a particularly elegiac melody, somewhat resembling the ones at Rick’s bar in Casablanca, make this play – assuming that the audience accepts it – exciting in an odd way. That is the point at which “Chinese Roulette” stands or fails: if the audience decides to abandon logical explanation to what they hear and see and starts to make conclusions by the authenticity of the experience, than this insolent anarchistic satire has a chance to be “postdramatic theatre of change”, as described by &TD’s producer Nataša Rajković.
If we consider Damir Bartol Indoš’s project in the context of the Croatian, predominantly pale, theatre of diminished passions, then “Chinese Roulette” – which surely will not attract subscription audience, but will attract young audiences thirsty for madness, excitement and provocation – is a performance of authentic energy and brave exploration.
Bojan Munjin

Hostage crisis on theatre stage
IS THERE A DIFFERENCE BETWEEN HIJACKERS AND HOSTAGES?

After three decades of work on the margins of art production, D. B. Indoš has decided to abandon the safe position of peripheral activity and to enter uncertainties of institutional production. In that way, he has once again turned his radical, extreme, autistic, highly individual poetics into engagement with professional actors gathered for performance “Chinese Roulette” at &TD Theatre.
The play is dramaturgically built around the state of powerlessness by hostages in a hijacked plane, based on a historical event of hijacking of a passenger plane in Mogadishu and killing of the pilot by members of RAF, as well as on Fassbinder’s feature movie “Chinesisches Roulette” and documentary omnibus “Deutschland im Herbst”. The main scenic image is the play of the hostages in the hijacked plane. In a situation where they are completely powerless, in which there is nothing to lose, the hijacked passengers partake in the truth-game.

An Homage to Fassbinder
The truth-game is the central point of the homonymous Fassbinder’s movie as well. However, while in Fassbinder’s movie the game ends in tragedy, in Indoš’s performance it culminates with a collective hallucination, ecstatic music that finally liberates.
Truly an homage to Fassbinder, to that fierce and uncompromising critic of social order as the source of all evil, by thematicizing RAF’s terrorist action the performance speaks out about the superiority of the socially organized activity in relation to the privately established one. By criticizing the government apparatus, Indoš proposes consideration of the phenomenon of terrorism: “It is about organizations – one is hereditary and legitimate, the other is self-organized – it originates by itself and it abolishes itself. The first has a rule to sacrifice others for itself, while the other usually sacrifices itself for others or breaks the rule by sacrificing itself with others. Basically, there is a conflict between the aggressive spirit and selfish capital.”

Non-existent innocence
The situation that erases the boundaries between hijackers and hostages poses a question of the responsibility of the individual inside the wider social structure by negating the innocence as a possible category of value. In that sense, the choice between political activity and passivity does not exist. The key scene is a remake of Fassbinder’s sequence from the movie “Deutschland im Herbst”, the conversation with the mother which is permeated by the memories of nazi history, silence, fear of speaking in public and deep distrust towards democratic political system, but also, at the same time, by his deep powerlessness to stand up to the basic hegemonistic world view as well. Putting the social engagement in the foreground, Indoš underlines his move into the field of institutional, accepting the dangers of misunderstanding and betrayal. By calling it “the breakthrough to the central”, he expands the battlefield to socially more accepted theatre as structurally a better place for his own social and political engagement.
Vesna Vuković

(translation: Vedran Pavlić)

CRTEŽI / DRAWINGS